Prompted by a question about this building on the Nottingham Hidden History Facebook page…
This building on the corner of Bridlesmith Gate and Victoria Street was a bit of a mystery… Photo: Lucy Brouwer
Ever since I noticed the details in the frieze above the first floor on this building I’d been wondering what the symbols, which on close inspection are an N and C overlapping and a club like you’d find in a deck of cards, could signify.
The frieze in more detail. Photo: Lucy Brouwer
When researching my Hine Hike tour, looking at the buildings of Thomas Chambers Hine, an architect whose work in Nottingham was prolific between the 1850s and 1870s, slightly predating that of Watson Fothergill, I found out more.
Along with the frieze, there are also monogrammed iron grills on the Bottle Lane side of the building.
More hidden letters in the grills on Bottle Lane. Photo: Lucy Brouwer
So what does it all mean? This rather elegant building was originally built as The Nottinghamshire County Club, set back from the road to allow the members to alight from their carriages. It was designed by Thomas Chambers Hine and his Son, George Thomas Hine who he had recently taken into partnership. The club opened in 1869.
Established in 1864, The Nottinghamshire County Club was a gentleman’s club containing billard, reading, card and coffee rooms. It also had bedrooms and “all the conveniences of a first-rate club”; there were around 200 members. Members paid a subscription and there was a reduced rate for gentlemen residing within ten miles. It was a place for meetings, a place to receive messages (for example, adverts were placed in the newspaper for items for sale and the club was used as the address to apply to). There were stewards and a secretary.
Originally there was a tourelle on this corner but it’s possible it was destroyed by the 1929 fire. Photo: Lucy Brouwer
Originally the building had a tourelle on the corner but this has been removed. A severe fire in 1929 destroyed most of the club’s early records and the name doesn’t make it an easy thing to search for in a city that not only has a Notts County football team, but also NCC (Notts County Cricket) and NCC (Notts County Council)! These are unrelated to these premises.
In 1954 it was sold to the Leicester (later Alliance and Leicester) Building Society and the Club leased back all but the ground floor. Access to the first and second floors was by lift via a new entrance on Bottle Lane.
The building is featured on my Hine Hike walk looking at the life and work of Thomas Chambers Hine. I hope to run this tour again in the summer, so sign up for the mailing list for news of dates. The Hine Hike is also available as an illustrated talk, in person or via Zoom so contact me for more details to set up a session for your group.
Here’s another architect who was active around the same time as Watson Fothergill in Nottingham.
Gilbert Smith Doughty (1861-1909) came to my attention when I noticed that Fothergill was not the only architect to have his name carved on his buildings. Opposite Fothergill’s Nottingham and Notts Bank on Thurland Street you will find The Thurland Hall pub, and if the hanging basket is not too full you can find the name of the architect prominently displayed. There had been a pub here on the site of the Thurland Hall (home of The Earls of Clare) since the 1830s, but when the railway came through from the Victoria Station, the site was purchased and cleared.
Gilbert S. Doughty’s name on The Thurland Hall Pub, Pelham Street, Nottingham. Photo: Lucy Brouwer
Perhaps this “signature” was a little nod to Fothergill’s manner of claiming his work, or perhaps The Thurland Hall was a building of which Doughty was particularly fond. Indeed, the design had featured in The Building News and it was one of the first pubs outside London to be built by Levy & Franks, one of the very first pub chains in the country, who had pioneered the introduction of catering to public houses. They bought the site and rebuilt the pub between 1898-1900. Doughty had his office close to the original pub, at 17 Pelham Street.
The Thurland Hall from The Building News, 1902 (a print currently on sale on eBay)
Born in Lenton in 1861 to Edwin Doughty, a Lace manufacturer and his wife Annie Smith, Gilbert was the second of four children. He studied at Nottingham School of Art, and as early as age 19 he lists his profession as “architect” (in the 1881 Census when the family was living at Cavendish House, Cavendish Hill, Sherwood.) In 1880 and 1883 he won Queen’s Prizes for his designs and by 1884 the trade directories find him in an office at Tavistock Chambers on Beastmarket Hill. From 1887 he was a lieutenant in the Robin Hood Rifles, by then he had moved his office to 14 Fletcher Gate and continued to live with his father and family in Foxhall Lodge, a house he designed for them at the junction of Foxhall Road and Gregory Boulevard, opposite what was then The Forest Racecourse. (The building is currently Foxhall Business Centre).
Lieut. Gilbert S. Doughty eventually became a captain in the Robin Hood Rifles. This is an enlargement of a photo taken circa 1892 reprinted in Nottingham Evening Post, 1 June 1946. British Newspaper Archive.
The first major project (apart from houses) that there is evidence Doughty worked on was The Borough Club, on Queen’s Street. The building was demolished in the 1960s, but at the time of its design in 1893, it was newsworthy. Doughty took over the project from the Matlock architect George Edward Statham (who had worked on Smedley’s Hydro) Statham died suddenly of Scarlet Fever aged 39.
The Borough Club, next to Watson Fothergill’s building for Jessops. Photo: Flickr
Other work includes additions to CW Judge’s bakery at 59, Mansfield Road (work occasionally mistaken for that of Fothergill). In 1899 Doughty added a refreshment room (for a long time the building housed Encounters restaurant).
The Northern Renaissance style of The Borough Club survives in some of Doughty’s other city centre work including 5-9 Bridlesmith Gate (1895) Built as a showroom for furniture shop Smart & Brown, the upper floors are now occupied by Waterstones.
The former Smart & Brown furniture store, now Fatface and Waterstones, Bridlesmith Gate, Nottingham. Photo: Lucy Brouwer
In a pinch, the central in the decoration of the Smart & Brown storefront might be Gilbert Smith Doughty! Photo: Lucy Brouwer
There are also two blocks of Flemish-inspired shops on Derby Road, but perhaps the most well known is the long gable range of City Buildings, Carrington Street (1896-7), with its prominent clock tower, a building known to many as the former Redmayne and Todd sports shop.
City Buildings, Carrington Street, recently renovated. Photo
Doughty lived at several addresses during his time in Nottingham, often buildings he had worked on, or close to them. In the 1901 census he and his wife May Edgcombe Rendle can be found as guests at the Portland Temperance Hotel on Carrington Street, opposite City Buildings (Incidentally, in the same census a former Fothergill assistant, architect John Rigby Poyser can be found in the Gresham Hotel, just the other side of the Carrington Street Bridge. More on these hotels in Alan Bates’ article for Nottingham Civic Society).
In 1902, Doughty lists his address as Greetwell, a house on the newly developed Manor Park estate in Ruddington (this land had been in the hands of the American industrialist Philo Laos Mills, for whom Doughty had worked on warehouses in the Lace Market, The Mills Building Plumtre Street, 39 Stoney Street and 47 Stoney Street.) Doughty’s contribution, Greetwell is still there although the house name does not survive.
Greetwell, Manor Park, Ruddington. Academy Architecture 1901, Source: Internet Archive
The Mills Building, Plumtre Street, Nottingham. Photo.
Doughty’s final Nottingham address in 1908 was a house he had built in 1905 on Private Road, Sherwood. Although the trade directories have yet another address for his office, in Prudential Buildings in the 1910 edition, by then Doughty and his wife had already left town.
How they came to be living in Prebend Mansions, Chiswick is not known, although this would have been close to his wife’s family in Brentford. This is the last known address of Gilbert Smith Doughty – he died suddenly in December 1909 in rather unfortunate circumstances.
After attempting to give a gift of a pair of gloves to a barmaid in The Roebuck pub on Chiswick High Road, Doughty was refused a drink of gin and angostura by the landlady and left the worse for drink. He was taken home and put to bed by the porter, but in the course of events hit his head on a mantlepiece (oh what irony as a design for a mantlepiece was one of his earliest achievements, gaining plaudits in 1879 while at Art School).
His wife found him dead and later at the inquest she noted that he was a heavy drinker and that the previous year he had “been sent away to a home for a time in consequence of his drinking habits”. In his article for the Civic Society, Alan Bates speculates that alcoholism might be the cause of Doughty’s somewhat patchy career, perhaps it was the reason for resigning his commission in the Robin Hoods in 1896, perhaps even the reason for the Doughty’s departure from Nottingham…?
You can read more about Gilbert Smith Doughty via The Nottingham Civic Society, where the venerable Ken Brand’s article is available in their archive. More work has been done by Alan Bates to fill in the gaps, a PDF featuring his article is available here.
A look at one of the few buildings that Fothergill worked on outside Nottinghamshire.
I was in the neighbourhood recently, so took the opportunity to have a closer look at an intriguing building. Dunedin, now called Burnage Court, on Lawrie Park Avenue in Syndenham, South London. It’s something of a mystery how Fothergill Watson came to work on additions to this house, but I’ve done some digging to see what I can find. (As this was in 1888, it was before his name change to Watson Fothergill.)
Dunedin, now Burnage Court, Sydenham. Photo: Lucy Brouwer
I took some photos from the road, and then I knocked on a couple of doors to see if there was anyone in. Huge thanks to Ritchye for talking to me and letting me have a little look around inside her flat. (It was on the market last year and photos are still online).
The date stone on the side of the building. The carved animal at the top looks a little like the one on the Fothergill villa on Mansfield Road, but I’m uncertain if these are original features. Photo: Lucy Brouwer
There is a date stone on the side of the house that matches the date in Fothergill’s 1888 diary when he records a visit “to Littleton’s house Sydenham about additions” (quoted in Darren Turner: Fothergill: A Catalogue of The Works of Watson Fothergill, new edition with photos now available).
Certainly the red brick parts of the house and some of the details seem recognisable as part of Fothergill’s oeuvre, but “additions” points to the fact that he was working to alter an existing property, perhaps in a similar way to the work done on St Andrews House in Nottingham, where he added sections to an existing Georgian house.
A little digging uncovered a few clues. Not least this painting by Impressionist painter Camile Pissarro…
Camille Pissarro
The Avenue, Sydenham
1871
Oil on canvas, 48 × 73 cm
Bought, 1984
NG6493
https://www.nationalgallery.org.uk/paintings/NG6493
Compare the view that Pissarro painted “en plein air” during his London exile during the Franco-Prussian war with the view down Lawrie Park Avenue today and St Bartholomew’s church is still easy to spot… I believe Dunedin, as it would have been before Fothergill’s additions, is the cream-coloured building near the centre of the picture.
A search of local blogs reveals that there was a house called Dunedin on the spot since around the 1860s and it was adjacent to Westwood House. The road was renamed Lawrie Park Avenue later. The clues from Fothergill’s diary entry start to make some sense.
The rest of Fothergill’s diary entry reads: “The mansion in the grounds called Westwood was built by Pearson 3 or 4 years ago. Bright red bricks with elaborate Royal and figure Carvings to all windows. The roof all of bright red tiles with turrets etc. This and the houses of the two sons lighted by electricity throughout.”
So, we have Mr Littleton, his two sons and a mansion called Westwood built by Pearson.
Mr Littleton was Henry Littleton (1823 – 1888), a music publisher who had risen in his profession to take over the Novello empire. (No relation to the performer Ivor Novello – who took the name for the stage as it was well known in musical circles). I delved into Michael Hurd’s exhaustive history of the firm, Vincent Novello & Co and Two Centuries of Soho by JH Cardwell. (available to browse on the Internet Archive).
Henry Littleton in later life, from Two Centuries of Soho by JH Cardwell 1898.
At his retirement about a year before his death, Henry had appointed his sons, Alfred Henry Littleton (1845-1914) and Augustus James Littleton (1854-1943) as directors of the firm which was then called Novello, Ewer & Co. Both sons had joined the firm aged 17, with Alfred eventually becoming the head of the firm and Augustus looking after the bookbinding and printing side of the enterprise.
Alfred H Littleton from The Musical Times 1911
Augustus Littleton as Falstaff (with sword) circa 1886, performing with the Irving Dramatic Club. (via Google images).
Henry Littleton purchased a farmhouse on the south slope of Sydenham’s West Hill in 1874, this was the first version of Westwood House. He engaged the architect John Loughborough Pearson to extend and remodel the house in red brick, with the air of a French Chateau. The house had “gables, turrets and tall chimneys sprouted everywhere. Spacious windows with heads of great composers set in stained glass medallions along with a coat of arms drummed up for Sir Henry de Littleton”. The effect was theatrical.
Westwood House was not only a “noble and imposing mansion with a carriage drive and ornamental lodge at the entrance” (as it was described when it was sold in 1895), it also boasted a teak panelled music salon. It opened in July 1881 and Henry Littleton used the house to host big names whose work he published, including Dvorak and Franz Liszt .
Frank Loughborough Pearson, the architect’s son, was to marry Alfred’s daughter Cecilia Littleton and go on to work on a headquarters for Novello and Co on Wardour Street. There is a very tenuous connection to Fothergill here: Pearson worked with sculptor Nathanial Hitch, who may also have worked on the friezes on the Nottingham and Notts bank HQ.
Augustus Littleton is cited as the source for photographs in several books of the period dealing with interior design and sculpture. Indeed, the rest of Fothergill’s 1888 diary entry concerns viewing a bust of Liszt that Augustus Littleton had in his drawing room, which is likely to have been a clay model for this sculpture by Boehm.
In the 1881 census, both Alfred and Augustus Littleton and their families are listed as living in the vicinity of West Hill. Alfred at The Avenue, Dunedin House and Augustus at Laurie Park Gardens. By 1891 all the Littleton family members seem to have left the area. Alfred was then residing in Hyde Park Gardens, but several of his children were born in Syndenham.
So, it’s difficult to confirm who commissioned the work on Dunedin, how Fothergill might have been connected to the wealthy Littleton brothers and for how long they might have stayed in the house (and, indeed, if they lived in it after Fothergill worked on it). The 1939 register indicates that the house had been turned into flats by that time, with some of it empty when the register was taken.
Westwood House was to suffer a more drastic fate… It was sold off and in 1899 became the Passmore Edwards Teachers’ Orphanage, it closed in 1939 and was demolished in 1952. There is now a housing estate and a care home named Westwood House on the site.
The front of Burnage Court. Photo: Lucy BrouwerThe back of the house. Photo: Lucy Brouwer
The house is now divided into 8 flats, one was recently on the market for rent, and one is occasionally available as accommodation via Airbnb.
The building is not listed, and various alterations have been made over the years. A lot of coloured glass, which looks typical of Fothergill, remains. Looking closer at the photos, I think that Dunedin was originally made of yellow brick (typical of other houses in the area) and Fothergill added red brick elements, timber details and decorations, perhaps to compliment the adjacent Westwood House. The chimneys, the brick nogging, the timber cladding inside and the tower all make sense in this context.
If anyone knows any more about Dunedin, The Littleton family or Fothergill’s possible connections to South London please contact me. (Fothergill attended Mr Long’s School, Clapham Park School as a child and visited Upper Norwood with his wife in 1883. He later named some streets in a speculative development in Nottingham Clapham, Norwood, Brixton and Sydenham, so perhaps had some affection for the area?)
Sometimes I’m lucky enough to be invited to explore Fothergill buildings. The latest of these was The Red House, on Cator Lane, Chilwell.
From the road, The Red House has a distinctive chimney that stands out from the surrounding buildings… Photo: Lucy Brouwer
The Red House is listed in the Fothergill Catalogue as a “Minor Work”, as it was not originally built by the architect. However, the additions he made to the property are quite extensive.
With its very tall chimney and red bricks, The Red House stands out amid the 1930s suburban semis that make up the rest of the street. Indeed, for a long time the original house (then called Hill House) was the only building on this part of Cator Lane, it is visible on maps from around 1850 – it may have been built even earlier, around 1840 from the style of the windows in the original parts of the house.
The Red House from the back, which is now the front.. the porch is a modern addition. Photo: Lucy BrouwerThe “front” of The Red House, Fothergill’s extension includes the porch and landing above, the large bays over two floors, bay windows added to the original rooms and possibly the attic rooms. Photo: Lucy Brouwer
The plans for Fothergill’s alterations were submitted in October 1895, approved in November and presumably carried out shortly after. The extension is shown on the 1900 OS map of the area. After the work, the house is called “The Red House” on maps and it is apparently the only substantial dwelling on Cator Lane until about 1930. I’ve found advertisements in newspapers from 1933 offering houses for sale (for £550 per house) on The Red House Estate on Cator Lane, most of the houses nearby look as if they were built around this date.
1933 advert in The Long Eaton Advertiser for The Red House Estate
Ian, the present owner of The Red House, gave me a tour and told me what he knows about the history of the building.
The house had been a parsonage and the client for the extension work was Frederic Chatfield Smith (1824-1905) of Bramcote Hall, at one time an MP for the area and the head of Smiths Bank in Nottingham. However, Smith did not live in the house.
There is a plaque commemorating Smith in the nearby Christ Church in Chilwell, he endowed the church but this wasn’t until 1903. He was known for his charitable work as his obituary in Nottingham Evening Post, 22 April 1905 notes:
“He manifested a warm interest in religious and philanthropic work, being an ever-generous subscriber to charitable and other institutions. He was a patron of the living of Bramcote with Attenborough, and he exercised discriminating influence in church matters.”
So did Frederick Chatfield Smith extend the house to encourage a new vicar to move to Chilwell? It seems that after the improvements the house remained as a small farm, with a quantity of pasture land and some animals. Ian has an advertisement that describes the house when it was offered for auction in the 1920s.
Auction notice for the house from circa 1921-22. Photo: Lucy Brouwer
I’ve found that in 1864, the house had been lived in by the then late Joseph Morris – cited in a marriage announcement for his sixth daughter Pattie.
In 1889, the householder was The Rev. James Crabtree – so it was presumably still a parsonage at this point.
After the extension was added, I’ve found a few of the residents and some information:
Around 1898-1899 G.W. Baxter, his wife, son and daughters can be found at the house. Baxter and family rode with the Earl of Harrington’s hunt in 1898, and in April 1899 GW Baxter could be found selling a horse at the Black Boy Repository (behind the hotel?) in Nottingham. In November 1899, both he and his servants donated to the Shilling Fund.
Brigadier General Charles Tyrell Shipley CB (1863-1933) was another resident of the Red House. I’ve found a couple of photographs of him: here in uniform and here as a younger man, and something of his war record, he seems to have had an illustrious military career, commanding the 46th North Midlands Division and according to his obituary in the Nottingham Evening Post (13 Nov 1933) he lived at The Red House “before the war” (WW1).
Newspaper classified ads are another way of discovering who lived in a house. Between 1915-1918, the Barnett family various posted notices for the sale of a Great Dane puppy, an appeal to find their lost Airedale bitch, Jessie, and a “wanted ad” for a Daily Help or a good cook-general.
In both September 1919 and December 1921 the house was part of a selection of properties and land up for auction (in 1921 the tenant was cited as Mr W. Lucas). I believe the poster Ian showed me (pictured above) is from around this time.
23 Jan 1926, Nottingham Evening Post. (British Newspaper Archive). More Pigs For Sale from the Harrisons at The Red House.
Between 1923 and 1933 Kennedy William Harrison and his family were resident in the house – for several years running they annually offer for sale a litter of pigs (there was a pigsty outside the house, which is still recognisable among the outbuildings) as well as a litter of retriever puppies and “50 second season fowls in full lay” (Present owner Ian’s lockdown project was to install a small coop with hens!).
There are also reports of Mrs Harrison being involved in a motor bus accident in 1923 when a Barton Bros bus ran into a telegraph pole in Beeston. Despite being a “victim of the mishap” Mrs Harrison was “progressing satisfactorily” at the time of the report in the Beeston Gazette and Echo (6 October 1923). A company, Harrison and Hill Ltd, was formed in 1932, with Mr Harrison going into business with a certain Miss Gwendoline Hill in a firm of manufacturers and dealers of clothing and wearing apparel.
Between around 1933 and 1936, The Red House Estate was being developed on surrounding land off the newly created Brookland Drive. The builder Cecil C. Blythe advertises houses in local papers with tag lines including, “Have you visited The Red House Estate, Cator Lane? If not, why not?” the houses were “modern and labour saving” (Beeston Gazette and Echo, 4 Nov 1933). All these nuggets were found using the British Newspaper Archive.
Fothergill’s extension to The Red House. Photo: Lucy BrouwerFothergill’s extension protrudes from the square plan of the original house. Photo: Lucy Brouwer
Ian was keen to point out that The Red House exhibits some characteristics that bring to mind the Arts & Crafts movement – Fothergill’s attention to detail, fondness for decorative elements and good quality materials suggest at least a knowledge of William Morris and his Red House – now a National Trust property in Bexleyheath, on the outskirts of London. But “The Red House” is a common name for properties that are this colour – Fothergill’s fondness for the distinctive Mapperley Bricks might just as well be the origin of the name.
Characteristic Fothergill additions – leaded windows, decorative brickwork, nogging and a hint of polychrome. Photo: Lucy Brouwer
The chimney towers above the rest of the house, note Fothergill’s use of English Garden Wall bond for the brickwork. Photo: Lucy Brouwer.
Inside the house, there are some quirks of design like the decorative coving in the Fothergill drawing room, and a door that has a frame at an angle to accommodate the staircase. Fothergill appears to have moved the stairs from what was the front of the house to the back (except this is now used as the front!). It was hard to photograph and it would be useful to have the plans – if anyone with knowledge of Chilwell history knows where they might be, then please let us know!
The hall, where the original exterior wall and door have been moved to create the extension. The arch shows where the exterior wall originally stood. The unusual plasterwork panelling in the hall (which also goes upstairs) seems to be part of the work done when Fothergill extended the house. Photo: Lucy Brouwer
Tricky to see in a photo, but this door frame is angled so that it can fit behind the stairs…never seen one like it before! Photo: Lucy Brouwer
The chamfered corners in the living room are echoed in all the interiors that are part of Fothergill’s extension. Similar details exist in other houses he worked on. Photo: Lucy Brouwer
Some details on the porch, which was originally the front door. A buttress, cut out patterns in the wood and brick nogging above, all features familiar from other Fothergill buildings in Nottingham. Photo: Lucy Brouwer
Huge thanks to Ian Paul for inviting me to look at his house!
If you live in a Fothergill building, or if you have a house whose history you’d like to explore, then Lucy might be able to help with research – please fill in the form on the contact page to send a message. Tours will be back in 2022!
One of the great things about doing The Watson Fothergill Walk is that people sometimes invite me to explore inside the buildings…
I was lucky enough to be contacted by Jonathan from Woodlands, who looks after the building at Queen’s Chambers, it was a rare opportunity to take a look inside some of the flats while they were between occupants.
I didn’t get to go inside Flat 1 as it is presently occupied, but there is a virtual tour here (this is the only one of the flats that has wood panelling still extant.) However, I did get to look inside several of the other flats, including Flat 2 which has just been let (photos still available here).
All the flats I looked at were spacious and surprisingly quiet. Each has been kept as close as possible to the original layout and I was pleasantly surprised by how much of the original building remained.
Queen’s Chambers, which stands on the corner of Long Row and King Street where it opens out onto the Market Square, was commenced in 1896 and seems to have passed inspection in 1899. The date stone reads 1897, as the building was named to commemorate Queen Victoria’s 60th Jubilee – indeed there is a bust of Her Majesty just beneath the chimney on the King Street elevation.
Plans for the Queen Street elevation of Queen’s Chambers (courtesy Woodlands).
The building was commissioned as “four sale shops with offices and workrooms over” for Mr Edward Skipwith Esquire, of EW Skipwith, Wine and Spirit Merchants. I had, up to this point, assumed that Skipwith was still trading as a Wine and Spirit Merchant in the new building but further research leads me to make the assumption that it was built as a retirement investment, as suites of offices to be rented out.
Indeed, in 1899 Fothergill was advertising “Suites of Offices or Single Rooms to be Let”.
Nottingham Journal, 17 Feb 1899 (British Newspaper Archive).
Taking me around the building, Jonathan was keen to point out lots of details. From the coal cellar (now part of the White Rose charity shop) through the building, past the “Porter’s Lodge” (a concierge booth by the entrance), up the impressive central stairs to the flats and the tower at the top. (That involved a rather hair-raising climb up a pull-down ladder over the stairwell into the top room that just has windows for the view!). Here are some photos that I took inside:
I was particularly impressed by all the original windows and glass that remains in the building.
Huge thanks to Jonathan for showing me around and being so keen to share what he knows about the building.
You can learn more about the architecture of Watson Fothergill and the history of his buildings on the Watson Fothergill Walk, more dates coming soon!
During my visit to the newly reopened Nottingham Castle I spotted a few clues that point to the architect who originally transformed the ruined Ducal Palace into the first municipal art gallery outside London.
But does anything remain of “The Midland Counties Art Museum at Nottingham”?
Nottingham’s not really a castle.. it’s a Renaissance Ducal Palace you know! Photo: Lucy Brouwer
Nottingham Castle’s new Rebellion Gallery does a dynamic job of telling the story of how Nottingham Castle as we know it has survived a turbulent history – from the demolition of the Norman fortress by Oliver Cromwell after the Civil War to the damage caused by protesters against the 1831 Reform Bill, when the Riot Act was read and the Duke of Newcastle’s Palace was torched – but what happened next?
Thomas Chambers Hine, prominent architect of Victorian Nottingham and the 5th Duke of Newcastle’s Surveyor of Estates, took it upon himself (along with his son George Thomas Hine) to transform the gutted shell of the building into a Public Museum and Gallery of Art and Science. All the woodwork – floors and staircases – had been destroyed in the fire so Hine added new stone staircases with cast-iron balustrades and the three floors of the palace were replaced with two, cutting through the old staterooms.
The top lit picture gallery was modelled on the Grand Gallery of The Louvre.
Picture (by Hine?) of the Gallery space now on display at Nottingham Castle. Photo: Lucy Brouwer
The gallery as it is today, with the skylight still performing its function. Photo: Lucy Brouwer
The Midland Counties Art Museum At Nottingham was opened by Albert Edward, Prince of Wales (Later King Edward VII)and his wife, Princess Alexandra on 3rd July 1878 and the occasion was marked with a royal procession through The Park Estate.
Stained glass window (now part of the Visiting Exhibition Space – currently hosting ‘Hello, My Name Is Paul Smith’) commemorating the Royal Visit and the Castle’s Civil War associations. Photo: Lucy Brouwer
TC Hine had a fondness for local history and published a book to mark the occasion, it detailed each phase of the building’s history and was entitled: ‘Nottingham Its Castle, A Millitary Fortress, A Royal Palace, A Ducal Mansion, A Blackened Ruin, A Museum and Gallery of Art’. It was published in two editions, the first in 1876 and a second in 1879 with a supplement covering the Royal Visit.
TC Hine’s history of the Castle, now on display in the Castle! Photo: Lucy Brouwer
Thanks to Google Books you can browse the pages of the book and look at some of the illustrations. (A copy is also available at Bromley House Library). In the book, “a labour of love”, Hine recounts the history of the Castle through the reign of each successive English monarch, notes significant incidents in the history of Nottingham and even lays claim to be the person who found the spiral stairs leading to the cave known as Mortimer’s Hole. As he goes through a timeline of the years, he notes important events, population figures and makes note of the buildings being built in the town. The book is almost a scrapbook (which is how it is described in the exhibition) although it actually contains printed pictures that have been stuck into each copy rather than the plates being directly printed onto the pages.
Nottingham Castle as a ruin, 1876 from Nottingham, Its Castle…” by TC Hine. Source: Google Books.
The deaths of notable personages are recorded and Hine describes buildings including the Nottingham Exchange, “standing as it does on the finest site in all England”, expressing the opinion that the building looked more like a “large retail establishment” than a public building fit to host the “Midland Counties Art Exhibition in connection with the South Kensington Museum”. He also describes the colonnades which distinguish Nottingham’s Market Place, even suggesting that they be developed as a feature, like the covered walkways of Bologna!
All in all, Hine’s book is a treasure trove of historical incidents and as he reaches years covered by his own lifetime, he notes the activities of other Nottingham architects as well as his own.
In summing up he compares the Castle, standing as it does upon a rock, to “the Acropolis at Athens or the Capitol of Rome”, and expresses the hope that ‘beauty and refinement “sweetness and light”‘ will arise from use of the Castle as a gallery and museum.
And so, we too must hope that in its latest incarnation, Nottingham Castle will continue to be such a beacon of “higher and nobler aspirations of the human mind.”
Closing paragraph of TC Hine’s ‘Nottingham, It’s Castle…” (source: Google Books)
To learn more about Thomas Chambers Hine and his buildings in Nottingham, join Lucy for her guided tour, The Hine Hike. The next date is 29 August 2021.
Tickets for this and all over events available on Eventbrite.
Three Lions may belong on a shirt… but there are four lions at Nottingham Castle that I am particularly interested in…
The four stone lion sculptures found in the grounds of Nottingham Castle… Photos: Lucy Brouwer
As I mention on the Watson Fothergill Walk, these four stone lion sculptures originally adorned the tower of the Black Boy Hotel. On a visit to the newly reopened Nottingham Castle I found them in the grounds welcoming visitors. Each one has weathered to give it an individual character and their paws look almost as if they’re raising a toast!
Two of the lions at the top of step to Nottingham Castle. Photo: Lucy BrouwerYou can just see 2 of the lions on the corners of the tower, added to the hotel by Fothergill in 1897. Picture Nottingham.
Fothergill worked on the hotel over many years, coming back to rebuild and extend it on several occasions. On the tower, added in 1897, you can make out the lions, each a standard bearer with a shield – their poles are now long gone but you can see where they would have held them in their paws.
The Black Boy Hotel c.1939
The hotel was demolished in 1970 and replaced by Littlewoods (now Primark) on Long Row. The lions have been at the Castle ever since.
Read more about The Black Boy Hotel here, or join the Watson Fothergill Walk to learn all about the building, its architect and his work in Nottingham.
Here’s another instalment in my occasional series looking at architects who were active in Nottingham at around the same time as Watson Fothergill.
Albert Nelson Bromley (1850-1934) is probably best known for his long involvement with Boots The Chemist, but he was responsible for many buildings in Nottingham ranging from schools to shops, warehouses to telephone exchanges.
Albert Nelson Bromley. Picture from Work & Sport (Bromley House Library)
Albert Nelson Bromley was born in Stafford in 1850, he was very young when his father died and the family moved to Nottingham to live with his uncle, the architect Frederick Bakewell (among his notable buildings – Nottingham School of Art, now NTU’s Waverley Building). After going to school in Nottingham and Lincoln, Bromley joined Bakewell in his office on Pelham Street and was articled as a pupil. Having joined RIBA as a fellow in 1872, he was on the point of moving to Manchester to take up a post when it was suggested that he spend some time on the continent sketching buildings.
Bromley spent 14 months in 1872-73 on an extended architectural sketching tour of Europe. In all, he visited 90 towns including Bruges, Chartres, Heidelberg, Prague, Venice, Siena, Athens and Constantinople in 9 countries. (Belgium, France, Germany, Austria, Switzerland, Italy, Greece, Turkey and Holland).
Title page, Work And Sport by A. Nelson Bromley (Bromley House Library)
In Work And Sport: Memories of An Architect, Fisherman And Golfer, which was published in 1934 towards the end of his life, he states that the object of writing the book was “mainly to reduce to readable proportions the Continental Diary of my Architectural travels during 1872-3.” On departing for his travels he was advised by an unnamed ‘Artist of Architectural subjects’ to:
“Go as an Artist with a knapsack on your back… the simplest thing – look as dirty as possible – don’t shave – wear a large slouch hat and smoke a very black pipe, you will go everywhere for half price. The guides will not bother you and the pimps and gay ladies will not give two-pence for you, as an Artist has no money.”
Without foreign languages, Bromley recalls being somewhat lonely and miserable, having left behind “a very nice girl” who was to become his wife (Elizabeth, whom he married in 1878). He did eventually meet some “rough diamonds” who were willing to stand him a drink. A sample encounter: ‘Oh I see you are an Artist – come and have a drink. Well, you will not get much out of that job.’ ‘No, I am studying for an Architect.’ ‘Oh, them blokes, well, you’ll make a bit more out of that.’
The rather hazy recollections of people and places (mostly places) in the ‘Work’ section of the book are accompanied by plates of the watercolours that Bromley made of various buildings on his travels. The rest of the book is mostly concerned with fishing. There is frustratingly little about the buildings that Bromley worked on himself.
On his return to England, he re-joined his uncle, Frederick Bakewell at his office, at 5 Victoria Chambers, Victoria Street. By 1875 they had moved to 3 1/2 Weekday Cross. One of their significant commissions was an early instance of Council Housing, the Victoria Buildings (Bath Street). Their partnership was dissolved on 15 May 1876. Bakewell died in 1881, aged 57.
Bromley went on to become the principal architect for the Nottingham School Board, after being chosen as one of the initial four practices to be commissioned to build schools (see blog on Abraham Harrison Goodall). He did some work for the Nottingham Tramway Company and built houses in Sneinton and Bulwell. Hucknall Public Library was built to Bromley’s design in 1885-6.
15 & 17 Newcastle Drive, photo: Lucy Brouwer
The precise date of the houses Bromley built in The Park Estate, including his own at 15 Newcastle Drive (originally 24 Pelham Terrace) are not confirmed (Wikipedia cites an early estimate of 1878, but The Nottingham Park Houses project plumps for circa 1890).
Bromley’s work in The Park seems to be concentrated on Newcastle Drive. He not only built numbers 15 & 17, but it is also now proven that he built 21 & 23 (records exist in the contemporary architectural photographer Bedford Lemere & Co’s archive). Glendower, the house at 27 Newcastle Drive may also be by Bromley (rather than by Watson Fothergill as is often claimed). Stylistically it has more in common with its neighbours and it lacks the richness that typifies Fothergill’s other houses in The Park. (See notes on The Park Estate in Darren Turner’s Fothergill: A Catalogue of The Works of Watson Fothergill).
Glendower was built for William Foster (perhaps the WF inscribed on the front of the house leads to connections with Watson Fothergill?). I’ve found evidence (Nottingham Journal 10 Nov 1881) that Bromley tendered for builders to work on a furniture depository for Foster’s Furniture company Foster and Cooper in 1881 and I personally don’t think this building is by Fothergill either.
Bromley was steadily busy through the 1890s, with buildings which include an office and telephone exchange for The National Telephone Company in George Street in 1898, look for the candlestick telephone motif.
Telephone Exchange, George Street. Photo: Lucy BrouwerDetail, Telephone Exchange, George Street. Photo: Lucy Brouwer
Outside Nottingham, there was the baroque classicism of Telephone House built for the same company in London (1898-1902).
Other buildings still standing in Nottingham include a wholesale fruit store for Buckoll, King & Co on Parliament Street (now Argos) and offices for Wells and Hind on Fletchergate (now part of the Ibis Hotel development). Deep red terracotta facings are a noticeable feature.
Former Fruit Warehouse, Parliament Street. Photo: Lucy Brouwer
Bromley is possibly best known outside Nottingham for his work for the Boots Company. He began this association with Alterations and Additions to their Island Street works in 1895. This lasted into the 1920s with stores being built around the country. In Nottingham, the company’s flagship store on the prime site of High Street and Pelham Street (now Zara) was designed in a glazed light terracotta with an air of Art Deco in the ornate shapes of the shop windows.
Former Boots Store, Corner of Pelham Street & High Street. Photo: Lucy Brouwer
Details of the Boots No. 1 Store (now Zara). Note the various rather muscular putti – something that T. Cecil Howitt also liked to add to his buildings
In 1903, Thomas Cecil Howitt joined Bromley’s office as a pupil, by now they were located in the Prudential Buildings on Queen Street. Work for Boots continued into the 1900s – including the shop and cafe Boots Store No. 2, 1906, now The Embankment pub. Bromley also worked on The National Provincial Bank (now Virgin Money) 1910 (demolished and rebuilt when the Council House was built by Thomas Cecil Howitt circa 1927) and additions and alterations were made to the Long Row/ Market Street Griffin & Spalding department store (until very recently Debenhams) 1910, with more work on the store in the post-WW1 years.
Bank on High Street/ Long Row. Photo: Lucy BrouwerGriffin & Spalding (Debenhams on the day it closed). Photo: Lucy BrouwerMore Body Building Putti. Debenhams frontage. Photo: Lucy Brouwer
Harry Graham Watkins joined the firm and became a partner and they ran a London office for a time – Thomas Cecil Howitt notes on his CV that he was the manager in 1908. The majority of their work was probably on bank branches, Boots stores and Telephone Exchanges around the UK. The Boots stores were often designed with a nod to the local vernacular or historical styles. An incomplete list of branches includes Beeston, Derby, Exeter, Gloucester, Kingston-on-Thames, Lichfield, Shrewsbury, Winchester and York. For more on Boots stores around the UK, read the excellent Building Our Past blog.
Just before WW1 Bromley visited New York, Boston and Washington in the USA. He noted that the skyscrapers in New York assumed ‘the appearance of a fretful porcupine.’
In the 1930s, Watkins retired and the practice was joined by Bromley’s grandson Thomas Nelson Cartwright and the rather elusive Thomas Herbert Waumsley. Bromley celebrated his 80th birthday in 1930, so how active he was in the new partnership is debatable. Cartwright went on to join the firm established by Robert Evans Jr in a partnership that became Evans, Cartwright and Wollatt in 1948.
Albert Nelson Bromley died in August 1934 at his home 15 Newcastle Drive. His buildings, as Ken Brand notes, are neither distinctly Victorian nor blatantly Modern(e) but there is a certain feeling of neatness and proportion. His Evening Post obituary summed up his involvement in the appearance of the city:
‘…Mr Bromley was as keenly concerned about the preservation of the amenities of town and country as he was about his personal affairs, He strove… to arouse the public mind to the loss of beauty caused by such blots as ribbon buildings, hideous advertisements, ugly or inharmonious buildings, and the demolition of historic places.’
My friends at the arts organisation Primary are currently crowdfunding to improve their building, which was formerly a school, at the corner of Ilkeston Road and Seely Road, Nottingham. You can help them to improve accessibility and make their studios, galleries and community venues even better for everyone and at the same time you get to own some original artworks, experiences and other great rewards. More info in their video:
Built in 1882-3 as Ilkeston Road Board School, it is an early Nottingham example of a purpose built school from the Victorian era of compulsory elementary education. Education in Victorian Nottingham faced particular challenges, as many children were employed in the textile industries. In 1870, the Nottingham School Board was established to offer a programme of elementary education and by 1903 secondary education became available. In 1877, Basford, Lenton and Radford were subsumed into Nottingham City and so this school, which is technically in Radford, was part of that scheme.
The first wave of Nottingham Board Schools don’t follow a single style. The architects Evans and Jolley, George Thomas Hine, Albert Nelson Bromley and Abraham Harrison Goodall were all appointed by the School Board in 1881 and worked on designing schools until Bromley became the School Board’s sole consultant architect in 1891, when his rather more severe Renaissance style became dominant.
The Ilkeston Road Board School building (now Primary) was also built in Renaissance Revival style using red brick with decorative terracotta and ramped gables.
As you can see from these photos, the front of the building has been extended.
The architect for this building was Abraham Harrison Goodall (1847-1912). Born in Bradford, Goodall was articled to Richard Charles Sutton in Nottingham and was his assistant until 1874. R C Sutton is notable for the Romanesque architecture of the Congregational Church on Castle Gate (1863) which, because of its polychrome brickwork, is occasionally mistaken for the work of Watson Fothergill.
In 1874 A H Goodall moved to his own office at 14 Market Street, Nottingham.
Nottingham Journal, June 1874 (British Newspaper Archive)
Other Nottingham buildings by A H Goodall include the 1887 Poor Law Guardians Office (now the Registry Office) on Shakespeare Street. This is a lush example of Italo-French Gothic with foliage and carving, with clustered shafts (columns) at the windows.
The Poor Law Guardians Office, 1887. AH Goodall. Photo: Alan Murray Rust
Goodall was also the architect of a terracotta-clad Lace Warehouse for Boden & Co on Fletcher Gate in the 1890s.
22 Fletcher Gate, Boden & Co Warehouse now Das Kino pub. Photo: Wikimedia
1909’s Westminster Buildings, is a bold but coarse piece of Baroque Revival with a broken pediment, also by A H Goodall.
A H Goodall was also known for his work on several Methodist New Connexion Churches across the country. He built Sycamore Road School (1886) in St Anns, Nottingham. He became a Licentiate of the RIBA in 1911, a classification of membership for architects who had not taken formal examinations, he had however taken some classes at the Nottingham School of Art, and was given a prize for the design of a piano in 1868. He married Emma Sharpe in 1876, they lived at Noel Street and had at least 5 children. Their oldest son, Harry Hornby Goodall, followed his father into the architecture profession as well as being a noted cricketer who designed the Dixon memorial gates at Trent Bridge.
In 1906 AH Goodall had been in business for 31 years but following a series of “unwise speculations” and a failure to keep proper accounts he was declared bankrupt. The School Board work had now been passed to the city architect. Just the year before, in May 1905, Goodall had written to the Nottingham Journal to criticise the “unnecessary expenditure on school buildings”, he calculated that spending on furniture was almost double what it had been in his time on the job, and that “This is the principal of the very liberal basis with a vengeance… Small wonder the education rate (tax) is high.”
The Ilkeston Road Board School, which became Douglas Junior and Infant School and eventually Douglas Primary School, ceased to be a school in 2008. The school was much loved by its staff and pupils and held a special place in the local community. After a period where the building’s future was uncertain, it became Primary, which uses the old classrooms as artist’s studios and communal spaces as exhibition rooms, in 2011.
As a Grade II Listed building, changes can only be made when strictly necessary and the fabric of the building is well preserved. Some 1960s additions at the back of the building remain as well as the integral layout of the former classrooms, which lend themselves to use as artists’ studio spaces. The interior has been painted white and some false ceilings have been removed revealing the scale of the Victorian classrooms.
Primary took the decision to purchase the building from Nottingham City Council in 2020 and with their crowdfunding campaign the plan is to make the building more fit for its current purpose, improving sustainability and providing level access so that it can remain a useful asset to the local community. Toilets will be improved and the open space in the former playground and rear garden will be developed.
Exhibitions in the building are regularly open to the public. The ‘Making Place’ Exhibition is open 21 May – 3 July, 2021. It reflects Primary’s long term community programme, which looks at how we all interact with Nottingham’s varied local history.
Making Place Exhibition being re-installed at Primary. Photos: Lucy Brouwer
Help Primary to hit their Crowdfunding target – or even to exceed it – by signing up for one of the great rewards on offer – these include exclusive artworks, books, masterclasses, badges and walks with artists.
Find out more about Victorian Nottingham and the architects who built it by joining Lucy for one of her Watson Fothergill Walks – or Zoom talks.
The more I work on Fothergill, give talks and promote my guided walks, the more contact I receive from people who want to know if the building they have spotted is the work of Watson Fothergill, architect.
Recently, I’ve been sent several photos, either houses people have spotted while on urban walks or pictures they have seen posted on social media, each with the question: Is this a Fothergill?
But is it a Fothergill? Pics from l-r, Wilford Grove/ Wilford Crescent East by Chris Pyke-Hendry, Hardwick Road by Lucy Iliffe and Lenton Boulevard spotted on Facebook (originally from Picture Nottingham)
I always direct people to Darren Turner’s Fothergill: A Catalogue of The Works of Watson Fothergill, Architect, an extremely thorough piece of research that has been invaluable to me in putting together my tours. In the book, Darren has found evidence for every attribution he makes and the results are compelling. However, there remain a group of buildings he calls “The Awkward Squad”
Many of these dodgy attributions persist. This goes back to the over-enthusiastic obituarist in the Nottingham Journal who in 1928 laid claim to Fothergill’s distictive buildings being found in “almost every city and town between Nottingham and London.” (I’m not really sure that a bank in Loughborough, a cemetery chapel and a coffee house in Ongar and a solitary house in Sydenham really hold this to be true.)
Clip from The Nottingham Journal’s notice of Watson Fothergill’s death, 7 March 1928. Source: British Newspaper Archive.
There are also a lot of photographs that originate from Nottingham’s council archive, many now online at Picture Nottingham, that are labeled as being buildings by Watson Fothergill. A great many of them are genuine Fothergill’s and there are some wonderful photos available, but some of them are part of “The Awkward Squad” or have even proved to be designed by different architects entirely. Several of these photos from the 1960s are credited to Mr FC Tighe.
F.C. Tighe, City Librarian (standing), with composer Eric Coates (who himself also has a connection to Fothergill!) 1953, Nottingham Evening Post. (source: Picture Nottingham)
Francis Charles Tighe was the Nottingham City Librarian (from 1953 until his death, aged 48 in 1964). In the early 1960s, Mr Tighe entered into correspondence with Brigadier George Fothergill Ellenberger, Fothergill’s oldest grandson (WW1 veteran and son of Eleanor Watson Fothergill Ellenberger and Georg Hieronymous Ellenberger – see blogs passim). Mr Tighe was preparing a lecture on Fothergill and Ellenberger sent him several family records including Fothergill’s diary. The microfilm copy held by the University of Nottingham archives still has the numbered tabs that the Brigadier added to correspond to a list of buildings “with which he may have been concerned whether as architect or renovator”.
The Brigadier typed out a ‘generous’ list of his grandfather’s works – 39 buildings, all but one of which are demonstrably by Fothergill. The problem comes from another fifty-odd projects that were handwritten onto the list. Ellenberger was not claiming them all for Fothergill but many of them have become firmly associated with the architect.*
These include, among others, several house in The Park Estate (Edale, which proves to be by Thomas Chambers Hine; Brightlands – now Adam House which was actually built for Samuel Bourne by Arthur George Marshall; and several houses on Hope Drive and Peveril Drive).
After the success of his lecture on Fothergill, Mr Tighe became a passionate Fothergill-Spotter and began to see them almost everywhere. Many of the photographs on Picture Nottingham that include the generic Watson Fothergill biography seem to originate from this period (indeed many are credited to Mr Tighe or are from what looks like the same batch marked c. 1964). This combination of attributions, and the way the keyword search on the site works, would seem to be responsible for the proliferation of these images to various social media platforms.
Indeed, I have found buildings by Fothergill’s assistant, L.G. Summers in Duke Street and the corner of Cedar Road that are cited as Fothergill’s on Picture Nottingham and other buildings that bear more resemblance to Summers’ later work.
As for the ones I have been sent recently – I think that the Lenton Boulevard houses (pictured above) are likely by Brewill & Baily. (See the latest Pevsner Guide To The Buildings of England: Nottinghamshire, p. 503) The Nottingham-based partnership of Arthur William Brewill (d.1923) and Basil Edgar Baily (1869-1942) were working in Nottingham during a similar period to Watson Fothergill, and there are bound to be some similarities in the material they used and their overall architectural influences. Other houses on Lenton Boulevard were photographed for Mr Tighe and to me, these feel like they are among some of his more wild guesses.
115 Lenton Boulevard, attributed to Fothergill but I’m very doubtful about this one. Photo: Google Street View. BUT IS IT A FOTHERGILL?
Number 115 Lenton Boulevard retains its attribution to Fothergill even in the latest Pevsner Guide. If anyone has any more information on any of these buildings, the pedant in me would like to straighten out the records!
Former Leenside Police Station, Canal Street. Photo: Lucy Brouwer NOT A FOTHERGILL!
Another Fothergill attribution that persists (due to how often photos of it are posted online) is the former Leenside Police Station on Canal Street. Despite red bricks and a turret, this is not listed in Darren Turner’s Catalogue at all. It was actually built by the City Engineer’s Department in 1901-2.
The Trent Bridge Inn. Photo: Wikimedia NOT A FOTHERGILL
The Trent Bridge Inn, another building whose shape might suggest some connection to Fothergill is in fact another ringer, having been built by William Bright (1888-90) with additions by Thomas Jenkins (1919). (Some info on The TBI and other Nottingham buildings that have become Wetherspoons pubs via Nottingham Civic Society.)
Building at corner of Wilford Crescent East. Photo: Chris Pyke-Hendry. Some features might point to L.G Summers but does anyone have any more clues? IS IT A FOTHERGILL???
The building near Meadows Library (above) photos of which were sent to me recently remains a mystery. To me it has some 1890s characteristics that might point in the direction of L.G. Summers, but as we have seen, a lot of building took place in the city around this time and there’s no evidence to substantiate who the architect might have been (not so far anyway).
Hardwick Road, photo: Lucy Iliffe
The actual Fothergill among the photos at the top of this blog (also above) is at the corner of Hardwick Road and Hartington Road, in Sherwood. Apparently some renovation is currently taking place. Built in 1890 as a villa on what was then called Cavendish Hill, for Mr Thomas Gallimore – who worked for Smith & Co Bank at the Long Eaton branch (itself designed by Fothergill). Gallimore also seems to have been a friend of L.G. Summers (Summers was present at Gallimore’s funeral in 1935). So even when we say something is a Fothergill, it shouldn’t discount the work of his chief assistant! You can see from the patterning of the bricks, the shape of the features like the windows and the chimney that this house resembles other known Fothergill’s more closely than any of Mr Tighe’s hopefuls that I’ve mentioned here.
I think what this really goes to show is that Nottingham is full of interesting buildings that are worth noticing and I hope it encourages you to go Fothergill-Spotting on urban walks! I’m still digging into the stories of the buildings that people have told me about and I’m always interested to hear from you if you live in a Watson Fothergill house or an interesting Victorian-era property that might be connected to the other architects of the period.
You can contact me HERE and sign up to the mailing list for the latest news on the return of the Watson Fothergill Walk in summer 2021.
*For more on this story, see the chapter “The Awkward Squad” in Fothergill: A Catalogue of the Works of Watson Fothergill, Architect by Darren Turner. Available from Five Leaves Books.
